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    1. Deals

      by , 01-20-2017 at 07:09 PM
      There's this man who's gotten himself into some trouble, and I've offered my help in solving that problem. Alternatively, I've told him to speak with a woman who works for me, and she'll help him disappear for a while. When he doesn't come to meet me, I check in with that woman, still in the alley where I'd told the man to meet her, behind the building where she works as a maid, still in her uniform. She tells me the man didn't show. She looks worried. I'm annoyed. I think the man's making a poor decision.

      It reminds me of another time. I see a building on top of a lake, a massive black arch. I'd made a deal with a woman that had led to the creation of this structure. She sees it as an architectural wonder and a symbol of her power, influence, capability, something along those lines; I see it as something impermanent. Like Ozymandias. I think of it as foolish. And I thought she would have realized that now that her deal's played out; I'd expected she'd want to make a new deal, to change course, I was looking forward to it. But when she does come to me for something else, it just compounds her original mistake. I'm disgusted but give her what she asks for.
      Categories
      non-lucid
    2. A four-sided mask

      by , 12-24-2016 at 05:08 PM
      I enter a lecture hall and speak to the man who I believed summoned me, dressed in black with a small white owl on his shoulder, but it turns out the owl is the one that called me; this is news to the man in black, and he's not pleased about it. The owl speaks in a pleasant woman's voice and changes into the shape of a four-sided mask, one face for each direction; three of them are simple stylized masks made of wood or similar, but the fourth is an actual face - it moves, it has eyes - just in cartoonishly distorted proportions. She's been sealed/trapped/stuck/reduced to this. She introduces herself as Loki Laufeyjarson, which is not the name I was expecting her to say but I roll with it.

      She talks about each of her masks - in the one that resembles an actual face, she says she'd taken this form and scorned high heels (meaning an artificial way of gaining the height she feels she should have had anyway - 'height' is not really the issue she's talking about). In one of the wooden masks, she talks about using this form for dealings with a magician, and she suspects that magician of having a hand in her current unfortunate circumstances.

      She returns to the form of the owl sitting on the man in black's shoulder, and we're now in a yard behind an estate, surrounded by partygoers. The man speaks of my payment and I dismiss the small amount of money he offers; I tell him I expect him to provide me with food and lodgings, pea soup and three packs of smokes a day. (Neither of those are things I'd want IRL, but I wasn't being my IRL self here.) I'm already leaving, stepping over an ornamental pond; it's a demand, not a negotiation. He's irritated, but she accepts immediately. I walk off into the trees along the border of the property.

      In earlier scenes, symbols of eyes and blue lotuses above the entrance to a cave, and drinking a polar bear's blood from a glass while wondering about parasites.
      Categories
      non-lucid
    3. Iudex

      by , 10-23-2016 at 03:23 PM
      A woman made a deal with one of my kind, a short man in a black suit who irritates me, and so he's placed his mark on her wrist, a symbol in the shape of a sword, representing "Iudex," the judge. This will allow him to possess her, though she was unaware of this. I'm furious. He's well within his rights, but I deeply dislike him and his people who bear that symbol; I'm going to destroy his mark. It's not difficult, any changes to the lines in her skin will do the job. I ask her to choose the method (a knife) and if she wants me to do it for her or if she'd rather do it herself (she asks me to do it), three horizontal cuts distort the symbol sufficiently, and then I set out a bandage for her.
    4. A glass world

      by , 03-13-2016 at 07:21 PM
      While guiding a woman through a certain demon's territory, I make a deal with him for safe passage. I offer him what appears as a glass paperweight in the shape of a globe. It represents a world that's about to die, though the inhabitants aren't aware of that yet. Neither was the demon.

      He's sorry to hear it, he'd enjoyed that world - hence why I'm offering him my rights to it. It's the same sort of emotional tone you'd use for a game that's coming to an end. I'd hoped it would end differently, but it failed, which means now it's just another piece of territory for us to use as bargaining chips. He takes the deal.
    5. Reworking a deal

      by , 01-26-2016 at 09:28 PM
      A deal has fallen through. Sort of. I've got a prince in my debt, but that's pointless - what I needed was for him to eventually become a king, so that a little further down the timeline, he'll be able to ask another king for a favor. But the princess I'd intended him to marry has now been burned and beheaded due to a minor demonic possession incident, so now he's useless to me.

      I find another kingdom that will work, a desert. Two daughters. In the throne room, I meet the younger daughter, but that timeline doesn't interest me. The eldest is locked in the dungeon, and I take the prince to meet her instead. I recognize her, though she doesn't recognize me - I'd met a version of her in another world. She'd been a he at the time. The prince had known her in that world too, and I think that could work out either very well or very badly. She's a lot angrier this time around, something of a freedom fighter, turned against her own father. This is promising.

      Updated 01-26-2016 at 09:30 PM by 64691

      Categories
      non-lucid
    6. A deal falls through

      by , 06-10-2015 at 06:20 PM
      I've convinced a man to throw himself on the king's mercy. A friend had been offering to get him to safety, he knew some people who could help with that, and the man had been considering it; but I'd spoken to the king and I promised him it would work out, so he stayed.

      But now that we're actually standing before the throne, the king decides to have him executed. This was not the deal. This brat, spoiling things on a whim; part of me is furious, but part of me just finds this whole situation ridiculous, that these humans allow themselves to be ruled by a man like him. I imagine speaking out, see an image of it, but in reality I say nothing, just wait for the audience to end. Now I'll have to try to sneak the man out. I should have just let him run while he could.

      Talking with others, there's something we need from the palace which we haven't been able to locate. Someone points out that there's a private wing that contains the royal suite, but also other rooms of unknown purpose - process of elimination, what we need must be there. We agree to make that private wing our destination for now, and someone makes a joke about how we can wave at the timeline of our original plan as it passes us by, we've gotten so far off course.
      Categories
      non-lucid
    7. A crow and a trio

      by , 06-07-2015 at 05:46 PM
      Mazikeen's picking up a crow for me, telling it that it's not going to get out of our deal. There's always an excuse.

      "What excuse?" says the crow. "I'm not trying anything. I'm just pointing out I've got mouths to feed."

      Many people do. But she counts the children in the nest, six of them. She initially seems not to care, saying something about distributing its belongings; but then she says something about giving them time to "grow into it." The crow's got one more year.

      (Woke up. Back to sleep.)

      A group of people sitting around a round table, while I'm standing. There's a woman who is composed of three women superimposed over each other, two living, one dead and decayed but still conscious due to her connection to the other two. I'm speaking to one of the living ones, Lily, the one who belongs to this reality, and offering a way to separate her from the other two. She has doubts. The other two are in favor of it. They ultimately agree.

      Later, I'm reading an account of the deaths of that group who'd been sitting around the table, a kind of organization I'd led. I'd made a deal on behalf of those three women, and to hold up my end of the deal, I was away for a long time; I think of this as abandoning that group. There was a fire. I'm reading a note to the effect that the group itself will reappear in some form or another, but the people I'd abandoned are dead.
    8. The scorpion and the frog

      by , 05-25-2015 at 07:31 PM
      There's a woman who is retrieving a certain object for me, while I watch in third person. The object is in a cave, in the possession of this large, strange creature who she's speaking to now - she's got two or three people with her. He's willing to make a deal. But after discussing terms for a while, the woman ultimately refuses; she isn't willing to agree to his terms. He accepts this, clearly believing she'll be back eventually - she has no other choice, she needs that object.

      She and the others start to leave, but one of the others evidently has their own plan - another woman starts playing a strange kind of music that puts the creature into a kind of trance. She encourages the leader of their group to simply take the object. The leader is conflicted, so the woman with the music does it herself. The creature's trance is deep enough to allow her to get close to the object, but it snaps out of it once it recognizes that they're stealing from it. They run.

      The cave is in the center of a sort of maze of tunnels, but although it looks confusing, the tunnels are all interconnected; as long as they keep running in the same general direction, it doesn't matter which tunnel they choose, they'll get out eventually.

      They come out of the tunnels into a place that I think of as a certain type of dream, a sort of desert-like place, barren brown rock, with various dreamers here and there like landmarks. In one dream, there's a family in a yard where grapevines are growing; two heavyset old men who are brothers, and two grandchildren playing a little distance away. One brother leans in to say something to the other in a language I don't recognize, and the eyes of the one listening turn all black, which I recognize as an outward sign of the usual effect of staying in this particular type of dream too long. He's the dreamer here, these others are illusions. They see the group passing near the edges of the dream and just watch them.

      The group comes across a dreamer they know, a man who the leader of this group is in love with. The others hang back on a ledge overlooking his dream, but she approaches him. He's sitting in front of the ruins of a small house - it's meant to be their house, his and hers, though they've never actually lived together outside of this dream. There's dead bodies lying around outside, things he killed, but too late to save this place from them. When he sees her there, he says, "I tried," with a sort of smile, as if this was inevitable and the only surprising thing was that he tried to save this place at all.

      Then he sees the object she's stolen, and there's a shift - he stops paying attention to the storyline of the dream he's in. He asks her why she went to all the trouble of finding that thing, when there's no guarantee that the man she got it for will be grateful for it. There's an association here with trying to help a scorpion - the story of the scorpion and the frog, doing what's in your nature rather than what's in your best interest. She agrees with him, there's no guarantee that this will have the result she wants, but she wants to help the 'scorpion' anyway. She makes a joke about having a weakness for older men - lifetimes older, in this case. Her man doesn't find this funny.
    9. Repeating a journey

      by , 05-12-2015 at 08:49 PM
      I'm walking out of a large red tent in the woods. In the previous scene I'd been having some kind of argument with two guards who work for me, but we were interrupted by a man who's now following me out of the tent, someone who I have some kind of deal with. He'd mentioned my son. I want to continue the conversation more privately.

      Deeper in the woods, there's no underbrush, and the ground's covered in old fallen leaves. I drop the illusion I'd been using. I've been borrowing the identity of the man those guards used to work for, some kind of ruler, dead now. Without that illusion, there's a sort of shadow over my skin, like a photo overlaid by an image of something else - I (correctly) remember that I've used that specific comparison before in another dream; though I don't remember the details until after I wake up, I'm aware the parallel's intentional.

      I'm dismissing whatever the other man has just said, angry. I tell him, "I swore to make this journey a thousand times, but you - you didn't uphold your part, did you?"

      Updated 05-12-2015 at 09:04 PM by 64691

      Categories
      non-lucid
    10. A deal

      by , 02-02-2015 at 10:14 PM
      A woman is standing in my home - I'm not physically present at the moment - and looking into a mirror that's showing her various visions. Currently it's showing her the man she loves with a very beautiful young servant standing underneath a tree, carrying out an affair. This isn't a surprise - she was already aware of it.

      The scene in the mirror changes, showing her an image of herself in a shop. There's no sound but the shop owner seems to be repeatedly asking her something that she refuses to respond to. When he approaches her, she throws out a hand to tell him to back off, but her nails brush his throat and cut it open, covering her with his blood. She looks shocked, but quickly recovers and hurries out of the shop.

      This second vision reminds her of my instructions to her. She has to eat a human heart tonight if that young and beautiful body I gave her is going to become hers permanently. And regularly after that, but that's not important, that's just basic dietary needs - the important part is this first time, making a deliberate decision.

      She steps through a portal back into her world, the courtyard of her own home. But as she looks around things look strange to her - most notably, the sky is covered with grey clouds that seem unnatural to her. It's as if she's seeing both her world and mine at the same time, and she wonders if this is how I see her world all the time. I'm thinking, you're getting a bit mixed up about which world is yours now.
    11. A princess's self-sacrifice, an angel in chains

      by , 12-27-2014 at 09:12 PM
      I'm disembodied and watching this woman who I think of as "the princess." She's standing on a cliff at night, looking out into the distance - I'm facing the opposite direction, and I wonder what she can see out there; she seems to be looking at something specific. She's with this big buff friend/guard. I'm hearing music, though I'm aware the music isn't part of the scene on the cliff that I'm watching. A mezzo-soprano singing, starting with a line that reminds me of the start of the Commendatore's song - "Don Giovanni! A cenar teco m'invitasti" - very similar sequence of notes, but in no language I recognize. The princess has come here to make some kind of self-sacrifice.

      As I watch, this dark grey crystal-like structure forms on her right temple, up into her hairline. Smaller, similar structures appear elsewhere on her bare skin where it's visible, but they quickly fade away - I think of snow landing on the skin and instantly melting. But the larger ones on her temple stay. The princess sways as if she's about to pass out, and her friend/guard catches her, but she's all right after just a moment. Her friend finds this scene, her actions, incredibly painful. So do I. I admire her.

      Those 'crystals' are things of the same nature I am - they're alive, in a sense, or similar enough to life; they're not capable of complex communication like I am, but they have awareness of a sort. And the princess has willingly made herself their host. Though she and her friend see this as self-sacrifice, I'd call it more of a deal. There's something that she wanted, and this will give her the power to see it accomplished - but she's giving up something too.

      (Woke up. Back to sleep.)

      Skyping with Julie, who turns out to live only an hour or two away, and feeling foolish for not reaching out to her before.

      A scene involving using a spinning wheel for what both is and isn't the first time, having Rumpelstiltskin's mental associations but without actually being him in this scene; finding it soothing to watch the wheel spin.

      (Woke up. Back to sleep.)

      There was this angel who'd taken on physical form to help me, and when we were done I betrayed it, sold it or traded it to this woman. Now I've gone to see her, and I'm seeing what she's done with the angel. It's chained up against a wall, its feet off the ground, and its severed wings on display above its head. When it sees me, it puts its head against the wall and says without looking at me, "You're safe now, brother. I can't be out." By which it means it has no intention of trying to get free of its chains. Now that its wings have been removed, it's fallen; it doesn't want to see what would happen without the chains to impose some restraint.
    12. Library

      by , 05-17-2014 at 07:23 PM
      I'm standing outside my IRL local library with two women. One of them needs to get something from inside the building, without getting caught. There's only one person inside to avoid being seen by, that and hiding her face from the cameras, so it seems fairly simple, but she's still worried, and she's standing around working out various plans. This seems to be something she intends to do on her own, she's not asking either of us for help, and the other woman with us is just waiting impatiently off to the side, but it seems to me this would go a lot easier and faster if I just went ahead and took care of it myself. After all, unlike her, I don't show up on video, and it'll be much easier for me to avoid that person inside - they're mostly walking around the main area near the door, so I'll just go around to the side of the building instead and walk through the wall.

      The section of wall I phased through comes out in the fantasy section, off in the corner of the library and out of sight. I'm looking around at the fantasy books, and thinking about how I used to eat this stuff up, and about how much more difficult it is for me to get lost in a book now. I'm aware that the quality of the books hasn't changed, it's my own mindset - but I somehow feel sure that if I look at one of these books, now I'll find one I can get absorbed in. I pick one up and flip through. The paragraph I'm looking at now involves characters named Maedhros and Fingon - I recognize the names from Tolkien, and I note this as odd, since this isn't a Tolkien book. These aren't meant to be the same characters either; the author seems to have just stolen the names for his own characters.

      The dream scene changes to a scene from that book. One character is explaining three weapons to another, and he's making a big deal out of a knife that secretly contains some kind of poison. He says there are two options with this - a whole dose inside will kill instantly, but "a thousand light touches... well, depends on how you define death." The scene changes; he's meeting a small group of people in a forest, one of them a queen, and they're coming to some agreement. He secretly places small doses from that poison in each of their drinks, which will give him some power over them - to his mind, this is simply making sure that they don't back out of the deal they've made. After they drink, they instantly realize what's happened and regret making this deal, but it's too late now.
    13. The power behind the throne

      by , 04-20-2014 at 07:26 PM
      A setting based on the early 1900s. I'm sitting at a dinner table, with my POV character's mother sitting somewhere to my right, and a woman who I'm having an intense argument with to my left, at the foot of the table. We argue frequently, I enjoy it; and I realize that although we're stating how much we hate each other, we're using words usually associated with passion or love.

      Dinner's over, the woman is gone, but my mother and I are still in the same room, standing now. I'm talking about breaking my engagement to someone else. I've never met the girl I'm engaged to - she lives in (either New York or Boston, can't remember which - I thought of it as far away), and our fathers had arranged it between themselves, before my father died. My mother is warning me about possible consequences. She describes the girl's father as "the power behind the throne."
    14. Immortals and witches

      by , 02-10-2014 at 12:48 AM
      A setting based off the Victorian era or thereabouts. A man who belongs to some organization or secret society made a deal with another member, who is now dead. Now the man's been debating whether he'll bother keeping his end of the deal, since the other party's dead and thus isn't in a position to know or object. Right now he's in the dead man's home, in a type of storage area, going over some of his belongings that relate to that organization they're both in - that was part of the deal, disposing of some of these things according to the dead man's wishes. One of those belongings is something I think of as a 'cookie', though it's dry and tasteless, makes me think of hardtack. He decides to eat it after all, keeping up his end of the deal. Eating it causes him to become immortal.

      That same man at a later date, confronting his wife in her home, a basement room with brick walls but with several potted ferns and a table set up holding a large, beautiful book - her journal. She believed him dead, there was a funeral. He's standing over her journal, and he's asking why she hasn't been writing. He says, "You're not a (his family name - Bowman or Barrow or something like that), you don't (something along the lines of being driven by a consuming passion)." He feels that the changes and upsets in her life - such as his own 'death' - shouldn't have shaken her disciplined, well-ordered approach to her tasks. She's also immortal, in a different way than he is, but linked to him in some way. The nature of their immortality means they can't possibly live together again, even if they'd wanted to.

      That same man again is being pinned to a wall, held off the floor, by his daughter. They'd been talking relatively calmly earlier, but he realizes she's become a vampire, and her eyes glow blue and then gold, and now she's got him pinned to the wall. As a disembodied observer, I'm thinking that she has the same face as a pirate woman who'd died in this man's arms long before his daughter was born; the pirate had been Chinese and the daughter's a white Englishwoman, but I think of them as having the same face and being in some sense the same person, and I have a vague impression of a third woman, a servant in England, who also has the same face. The daughter says to him, "You know what to do. Then come get me!" He stakes her, and she crumbles into dust. He's still stuck hanging on the wall.

      (Woke up. Back to sleep.)

      I'm standing between a coyote and a bird. The scene after this discusses the coyote as wandering and gathering a pack of odd strays - other species, including housecats.

      (Woke up. Back to sleep.)

      There's a woman, a leader of witches, who's given me some instructions to carry out, something I'm meant to do with her grave after she's been buried. Now I'm digging down through the loose dirt in her grave, sinking into it. I'm afraid of it closing over my head and suffocating me. I get out of the grave and fetch my staff, and use that to probe through the dirt, waiting for it to hit something.

      After a few other scenes, mostly involving the witches but gradually transitioning into scenes with IRL characters, I'm walking through a bookshop and I spot a book with a title that mentions one of my lucid goals, the one I'd intended as my task for the day. I immediately become lucid, but realize I'm already waking up.

      (Woke up. Back to sleep.)

      There's a group of people getting together at a restaurant, taking up the second floor, a sort of balcony area looking over the main room. The owner of the restaurant's friends with the leader of this group, and he's saying as he escorts them in, "You're the one who wanted to do this here. If you wanted privacy, you should've-" The tone's good-natured. There's a table set out for three: the boss, his wife who hasn't yet arrived, and a prostitute. The restaurant owner's wife comes over to talk to them, and she knows the prostitute, they exchange some friendly words. The prostitute's asking what this is about; the leader's got some plan in mind involving her, but they're waiting for his wife to arrive before he'll talk about it. The rest of his people are arranged at the surrounding tables, waiting and watching the main table quietly.

      There's a woman who rose from the dead. Her girlfriend's explaining to her that this has all happened before, repeatedly: they meet, after a few days this woman dies, and then a little while later she'll turn up again and 'meet' the girlfriend again, with no memory of this having happened before.

      Updated 02-10-2014 at 01:00 AM by 64691

      Categories
      lucid , non-lucid
    15. A haunted piano, an odd pet, and a deal gone bad

      by , 01-31-2014 at 11:23 PM
      Dean and Sam are trapped inside a house they were investigating, something to do with a piano and a song that was being worked on at the time of the composer's death. As Dean, I'd been calling someone on my phone the moment the house trapped us inside, a woman we've worked with before. She'd been having lunch when I called her, and after a while the phone is taken by some guy she was eating with, someone who doesn't understand anything about what's going on and who tells me off for being rude, insists I should "use sir and ma'am" or else he'll hang up. So I call him "sir and ma'am" and piss him off. Thankfully the woman from before takes the phone back. I have the impression that if I hadn't been on the phone already, if I hadn't already had a connection established, the house would have prevented the phones from connecting; if this call ends, we won't be able to contact the outside world at all.

      I've got a creature perched on my finger that's something like a crow and something like a bat - it's furry rather than feathered, but it's got a beak. The feeling of its talons around my finger is odd - not exactly discomfort, it reminds me of holding a mouse in your hands. I raise my hand and launch it into the sky.

      There are two little girls, elementary school age, who are carrying out some illegal deal, weapons or something similar, something stored in the trunk of a car. They have some mentor who usually does this, he doesn't realize that they're here in his stead, he would have stopped them if he knew about it. This meeting with the customer was supposed to be an initial negotiation, a sample, but one of the girls declares that they're going to do the deal now. The customer reacts badly. The other girl gets shot, the one who'd declared they were doing the deal now takes a gun out of the trunk and shoots the customer, the cops come, they're all put in handcuffs, and the customer is bewildered, he was a good customer and doesn't understand why they tried to change things. The girls escape, go home, and try to cut the chains around their wrists with their father's tools.
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